Writing for the eyes in the Spanish Golden Age /
edited by Frederick A. de Armas.
Lewisburg, Penn. : Bucknell University Press, c2004.
310 p. : ill.
0838755712 (alk. paper)
More Details
Lewisburg, Penn. : Bucknell University Press, c2004.
0838755712 (alk. paper)
catalogue key
Includes bibliographical references and index.
A Look Inside
Full Text Reviews
Appeared in Choice on 2005-03-01:
Exploring the complex interplay between the written word and the visual image in early modern Spain, some of the 13 essays in this collection look at the impact of the visual arts on the classic writers of Spanish literature, including Cervantes, Quevedo, Gongora, Lope de Vega, Calderon, and Gracian. Other essays analyze matters surrounding less-studied cultural products, such as the subversive mythological frescoes in Juan de Arguijo's library, the impact of emblematic discourse in sermons, deception and sensory perception in Maria de Zayas's short fiction, and optics in Juana Ines de la Cruz's poetry. Several contributors also address issues of gender, especially the female form as the subject of the male gaze. Forty-three plates reinforce the connection between the literary works under consideration and the visual arts. De Armas provides an insightful introduction in which he contextualizes the relationship between letters and painting in historical and literary terms. Careful definition of technical vocabulary makes the volume accessible to a broad audience. Despite occasional errors in copyediting, this volume is a valuable contribution to understanding the relationship between literary and visual culture in Golden Age Spain. ^BSumming Up: Recommended. Lower-division undergraduates through faculty; general readers. P. W. Manning University of Kansas
This item was reviewed in:
Reference & Research Book News, February 2005
Choice, March 2005
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Table of Contents
Introductionp. 7
The Painter and the Writer Are One and the Same
(Mis)placing the Muse: Ekphrasis in Cervantes' La Galateap. 23
The Pomegranate of Don Quixote 1.9p. 42
The Quixotic Art: Cervantes, Vasari, and Michelangelop. 63
Ut Pictura Poesis
Mirroring Desire in Early Modern Spanish Poetry: Some Lessons from Paintingp. 85
Inscribing Transgression, Siting Identity: Arguijo's Phaethon and Ganymede in Painting and Textp. 109
Writing on the Fractured "I": Gongora's Iconographic Evocations of Vulcan, Venus, and Marsp. 130
Optics and Vocabularies of the Visual in Luis de Gongora and Sor Juana Ines de la Cruzp. 151
Painting the Feminine
Lope de Vega and Titian: The Goddess as Emblem of Sacred and Profane Lovep. 167
To Possess Her in Paint: (Pro)creative Failure and Crisis in El pintor de su deshonrap. 185
Visual and Oral Art(ifice) in Maria de Zayas's Desenganos amorososp. 212
Visual Rhetoric
The Baroque at Play: Homiletic and Pedagogical Emblems in Francisco Garau and Other Spanish Golden Age Preachersp. 235
Quevedo Resting on His Laurels: A (Topo)graphical Topos in El Parnasso espanolp. 257
Linguistic and Pictorial Conceits in the Baroque: Velazquez Between Quevedo and Gracianp. 279
Contributorsp. 301
Indexp. 305
Table of Contents provided by Rittenhouse. All Rights Reserved.

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